31 October 2001

Scott Berkun, "Strategies of influence in interaction design," UIWeb.com, Nov 2001

A prototype of your new search page design reflects a set of design choices you think should be made. But what are the business impacts of those choices? How long will it take to build? How will it effect advertising rates, or partnerships? What code changes are needed to make it possible? In the abstract, some designers feel these are not design considerations, and instead are just matters of implementation for someone else to figure out. This is a trap. While it’s great to ignore constraints to inspire creative thinking, if your want your work to reach people’s web browsers or desktops, you have to plan to involve yourself in the practicalities of realizing your ideas. The more skilled you are at assessing those aspects of a design, the more welcome you’ll be to participate in the process.
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The two most powerful forces of influence in the interaction designers toolbox are the video and the prototype. Humans are visceral creatures. We respond to things that call on our senses. Specs, code, and even bitmaps are all static, limited attempts to represent what the experience of interaction will be like. It takes an inventive imagination to read these things and accurately visualize anything. It’s typically only those few individuals with practiced imaginations, regardless of job title, that can do this well. If you need to convince someone that the current design has problems, you must show them... If you want to get people’s attention around your work and the user experience, there is no better way.

The prototype offers you another form of direct influence. It’s almost a secret weapon. While everyone in the room is debating in front of the whiteboard about what the design should be, or how it should behave, you can show the group a real live working example of your ideas . They can even interact with it depending on what you’ve done. It’s a huge advantage.

28 October 2001

Walter Mossberg, "Consumer Technologies Make Startling Advances in Decade," The Wall Street Journal, 25 Oct 2001

... it's amazing how much better things are than they were just a decade ago. It seems like 100 years have passed, not just 10. Yet, some things haven't changed. The techie class that designs and sells these products still tends to make them too complicated and still looks down on average consumers, at least privately. The buying experience is still terrible. And in some ways, at least when it comes to the personal computer, consumers actually have less choice than they did in 1991.

18 October 2001

Marcia Conner, "Our Shared Playground: An Interview with Michael Schrage," LiNE Zine, Winter 2001

...in researching the histories of disciplines like biotech and software development for the book, what I really found at the core of innovation weren't only creative individuals, per se, but rather creative relationships. Intriguingly, the key medium for managing those creative and innovative relationships was the shared space. I found that all collaboration, without exception, requires shared space.

11 October 2001

"Making the World a Happier Place, One Web Site at a Time: Interview with Jakob Nielsen and Marie Tahir," WebReference.com, Oct 2001

At the same time, to get high quality design, you must have usability-directed design where you start out with studying users' needs and let that decide where you're going to go. That more integrated approach, where usability permeates throughout the lifecycle and becomes the way a company designs interfaces, I would say that is exceedingly rare. Basically, it almost never happens that way. I recommend that is the direction things should move because whenever products or websites are designed that way, they become so dramatically superior that they take over and gain some substantial market shares. So it's self-perpetuating.

10 October 2001

Dan Bricklin, "Copy Protection Robs The Future, Bricklin.com, Oct 2001

Copy protection will break the chain of formal and informal archivists who are necessary to the long-term preservation of creative works.

26 September 2001

Jennifer McFarland, "The Consumer Anthropologist," HBS Working Knowledge, 24 Sep 2001

When a new product needs testing for consumer reaction, companies traditionally turn to that old market-research mainstay, the focus group. Today, however, alternative techniques offer deeper insights that can inform the product development cycle like never before. Ethnographic market research—somewhat new to marketers but as old as the science of anthropology—is increasingly being used to provide new information about consumers. Using the anthropologist's tool kit of methods and theories, ethnographers are giving corporations an inside look at the cultural trends, attitudes, and lifestyle factors that influence consumer decisions about everything from bathtubs and toothpaste to insurance and batteries.

Such research can give companies an advantage in learning not just what customers want, but what they will want, says Eric Arnould, professor of marketing at the University of Nebraska. "Ethnography is a way to get up close and personal with consumers," he says. "As the cycle time for new product development goes down and its cost goes up, and as competition becomes fiercer, many firms are trying to get closer to the consumer to try to figure out the context of use for new products."

Whereas focus groups often work in artificial settings for short periods, ethnography situates consumers within the larger social and cultural context.... Ethnography looks not for opinions but for a 360-degree understanding of how a product might resonate with the consumer's daily life.

25 September 2001

Tony Fernandes, "It's the people, stupid," CNET.com, 25 Sep 2001

Billions of dollars of investment have been wasted simply because companies have ignored people and their needs. Doing usability testing late in the process only refines a bad design and won't fix the problem. What the industry needs is to sign up for product design in advance of product development. I see the unwillingness to do this as a plague that increasingly affects the market advantage the United States currently enjoys.

05 September 2001

Linda Tischler, "Simplicity + Technology = Sweet Success," Fast Company, Sep 2001

"If you really want a category killer, you've got to go simple, simple, simple."

The old design mantra "Less is more" has never been truer than in the world of technological gadgetry, Lovelady says. As consumers balk at the steep learning curve attached to each software upgrade and "time-saving" appliance, manufacturers and engineers are ceding power to designers who insist on simplicity, elegance, and user friendliness, even if it means sacrificing some technological wizardry.

31 August 2001

Porter Anderson, "Scott Adams: Dilbert's Ultimate Cubicle," CNN.com, 28 Aug 2001

"They've got this whole design process that starts with this incredible, chaotic brainstorming session where anything goes and nothing's criticized -- and at that stage, you're pretty sure nothing good can ever come out of this.

"Then you find out that they've done this before. And they actually do throw away the bad ideas. They do a rapid prototype and start building stuff."

22 August 2001

Jay Conrad Levinson, "What do people want online? It's not what you think it is," CAP Online, April 2001

Some folks see the web as a vast, new field for advertising messages, assuming that while people may want to do something else, if we can entice them with Flash, we can sort of trick them into paying attention to our products and services. Guess what. That's not gonna happen.

What does this mean to emarketers? It means that if you're constructing a site for goal-oriented consumers, you'd better make sure you can help facilitate their seeking. Rather than focus on entertainment, Flash, and useless splash screens, the most effective sites are those that help people get the information they want when they need it. Straightforward data, information that invites comparison, and straight talk are going to win the day.